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You might think the curator of an old-school museum show, and one who happens to be an artist himself, would flinch at the mention of the phone-out masses \u2019gramming away at his art show. Not Da Corte. The art of reproduction, the bones of appropriation, the creation of a feed\u2014it\u2019s all very Lichtenstein, and it activates the show.<\/p>\n
At one point, Da Corte leapt up from the floor of his library to the stacks and plucked out a dust jacket for a book Castelli made when the legendary dealer showed Greene Street Mural<\/em>\u2014the physical manifestation of a work that was painted on his gallery wall, then painted over, never again to be installed on Greene Street.<\/p>\n The Whitney\u2019s Greene Street Mural<\/em> will also be temporary, but it will live on in the cloud. And Da Corte loves this\u2014he held the dust jacket close to my eyes, flipped it vertical, and then started dragging it upward: et voila, Instagram.<\/p>\n Da Corte\u2019s Hot Dog With Ketchup<\/em> (2026)<\/span>Courtesy of the artist\/Matthew Marks Gallery, New York and Los Angeles\/Sadie Coles HQ, London<\/span><\/p>\n<\/figure>\n \u201cThis is not dissimilar to a feed,\u201d he says approvingly. \u201cIt\u2019s a scroll.<\/em>\u201d<\/p>\n And for the curators, they know Lichtenstein would have approved.<\/p>\n \u201cTo bring Roy to the moment is to look at this wall, to look at this painting, to say, \u2018Of course it\u2019s urgent. This is exactly how we understand our lives now: through pictures, through images, through all of this,\u2019\u201d Da Corte says. \u201cAnd it is a stream of images. It is a stream of graphics. It\u2019s a tale as old as time. It\u2019s heartless, and it\u2019s sensuous. So it feels quite contemporary.\u201d<\/p>\n<\/div>\n